I don’t profess to know too much about the so-called “pre-Code era” of Hollywood, though I have a book about it that I mean to read, especially urgent now that the BFI is doing a retrospective of many of these films. What I do know is that for a brief period between the start of the sound era and the enforcement of the Production Code in 1934 (a sort of voluntary self-censorship by the major studios), there was a brief flourishing of films with some rather darker and more adult themes and a view on life that didn’t always reinforce cultural prejudices or end happily for the ‘good guys’.
For Gold Diggers’ part, its place in this era comes not from any kind of boldly proto-feminist message — no surprise given the title, though its female leads are all strong-willed and get what they want, which certainly provides some small corrective — but in its bitterly sardonic take on its Depression-era setting. It’s big-budget escapism, sure, but it doesn’t try to efface just what tolls living in poverty sometimes took (even if the actresses’ shared apartment is rather swanky). The big closing number, “Remember My Forgotten Man”, is rousing and beautifully moving — though narratively, it feels like a quite different film — and shows First World War heroes reduced to beggars and bums. Elsewhere there are hints at prostitution being a option to make ends meet for some of the ‘gold diggers’ we see gathered around Broadway impresario Barney Hopkins, desperate for a part in his new show.
Three of those actresses are the leads here, and share an apartment. There’s Polly, the earnest one (Ruby Keeler), Carol the glamorous blonde (Joan Blondell), and Trixie the shrewdly self-interested comic actor (Aline MacMahon). The plot itself follows the putting-on-a-show narrative and throws in some love interests (or ‘gold digging’ interests, as far as Trixie is concerned at least), which all resolve themselves in comically perfunctory manner at the end, as uptight plutocrat Lawrence (Warren William) wrestles fairly snappily with his feelings towards Carol.
What really sets apart the film is of course the Busby Berkeley-choreographed musical numbers. I’ve mentioned the closing number already, while the opener (“We’re in the Money”) kicks things off in grand style, suggesting glamorous escapism from the country’s financial woes with Ginger Rogers singing directly into camera as dancing girls clad in costumes made of gold coins swirl around her, before making it clear the bitter irony when the cops show up midway through to close things down and take away all the costumes due to (what else?) lack of money. Most fascinating is “Pettin’ in the Park”, a weirdly surreal number that depicts a refreshingly broad cross-section of people in the aforesaid park, before introducing a dwarf playing a lecherous baby, and an iron corset-clad Polly having her clothes prised off with a tin opener. By comparison, the other big number (“The Shadow Waltz”) just seems like extra padding, though its chorus line wielding neon-lit violins certainly makes for an arresting image.
There’s so much going on in this film, it’s hard for me to find any particular moral coherence, but such is often the way with Hollywood’s spectacles. It offers a sardonic commentary on the tolls of the Depression and Prohibition, while keeping things amorally snapping along. Its narrative of three women triumphing by exploiting the men around them is one that would be repeated in a number of pre-Code films of the era, but then there are the musical numbers which choreograph an almost endless line of flamboyant chorines, so maybe it’s the filmmakers who are the gold diggers and we the audience their willing victims. In any case, it’s a high-water mark of the Hollywood musical and a glorious tribute to Busby Berkeley’s art.
SPECIAL SCREENING FILM REVIEW
Director Mervyn LeRoy | Writers Erwin S. Gelsey and James Seymour (based on the play The Gold Diggers by Avery Hopwood) | Cinematographer Sol Polito | Starring Ruby Keeler, Dick Powell, Joan Blondell, Aline MacMahon, Warren William | Length 96 minutes || Seen at BFI Southbank (NFT3), London, Friday 9 May 2014
My Rating excellent